Eric Hayot at the Novel Worlds conference showed a slide with an image of Debbie Harry of Blondie painted on the Amiga by Andy Warhol. There is a video of Warhol painting on the Amiga at the premiere of the Commodore Amiga.
Technologizer has a nice retrospective on the Amiga, Amiga: 25 Years Later. I remember when it came out in 1985. I had a Mac by then, but was intrigued by the colour Amiga and the video work people were doing with it.
Ted Underwood in a talk at the Novel Worlds conference talked about a fascinating project, Every Noise at Once. This project has tried to map the genres of music so you can explore these by clicking and listening. You should, in theory, be able to tell the difference between “german techno” and “diva house” by listening. (I’m not musically literate enough to.)
Emulation as a strategy for digital preservation is about to become an accepted technology for memory institutions as a method for coping a large variety of complex digital objects. Hence, the demand for ready-made and especially easy-to-use emulation services will grow. In order to provide user-friendly emulation services a scalable, distributed system model is required to be run on heterogeneous Grid or Cluster infrastructure.
The Emulation-as-a-Service architecture simplifies access to preserved digital assets allowing end users to interact with the original environments running on different emulators. Ready-made emulation components provide a flexible web service API allowing for development of individual and tailored digital preservation workflows.
One of the oddest Ethereum projects in operation, CryptoKitties is a three-way cross between Tamagotchis, Beanie Babies and animal husbandry. Users can buy, sell and breed the eponymous cats, with traits inherited down the generations.
The British Council has developed a bilingual (English/Turkish) digital exhibit of British Art. The exhibit remediates the gallery/museum as interface, which is not new, but the designers have included other visitors moving around, looking at art and so on. It gives it a more human feel. That said, I found it harder to actually get to the art. I couldn’t move from painting on the wall to the next one without stepping back and then in.
I finally got around to downloading and playing Rez Infinite on the PS4. This is an upgraded (hi-res) version of the original which SEGA released for the Playstation 2 and Dreamcast in 2001. The game is a beautiful rail shooter and a music game which produces trance like electronic music (and vibrations) as you play. There is a traveller mode where you don’t die and you can just make music and travel through the spaces. I found myself wanting to repeat levels to continue the beat.
The new 2016 version for the PS4 support VR (though I don’t have it). It also has an extra level called “Area X” which, while more sophisticated, lacks the charming Tron-like graphic imagination of the rest. It would be interesting to map all the references to Tron in Rez – it too places you as a hacker going through a computing landscape.
From Humanist I learned about Rhizome’s Net Art Anthology. For two years they be exhibiting net art works. There are already a couple up there and you can get an email update when a new one gets posted.
The design of the site is simple and loud in a way that reminds me of the early days of the web.
From Twitter I learned about dhQuest – a game of digital humanities. In the game I played (with just one player) I had three characters (a researcher, a librarian, and a technologist) that I deployed to complete quests as I built a digital humanities centre. Very nicely done.